Mixed Race Studies

Speaking from the Margins: The Voice of the ‘Other’ in the Poetry of Carol Ann Duffy and Jackie Kay

Academica Press
2010-06-15
124 pages
Trim Size: 6 x 9
Cloth ISBN: 978-1-933146-92-8/ 1933146-92-3

Özlem Aydin

Speaking from the Margins: The Voice of the ‘Other’ in the Poetry of Carol Ann Duffy and Jackie Kay studies Carol Ann Duffy and Jackie Kay as poets who identify and represent some key forms of “otherness” may take in the British society of the 1980s and the 1990s. Indeed, although Duffy’s poetry is political and concerned with the British society of the 1980s and the 1990s, particularly with the condition of the underprivileged and people pushed to the margins of society as a result of Thatcherite policies, criticism of her poetry is more concerned with her feminist representation of gender in her work. Thus, it is important that her poetry of the 1980s and the 1990s is recognised as a poetry of the “other” as Duffy in this poetry gives specifically a panorama of Thatcherite Britain through the voice of the “other”. Similarly, this thesis analyses Jackie Kay’s poetry as a poetry which is critical not only of Britain but also is particularly concerned with the condition of the racial and the sexual other in the 1980s and the 1990s Britain. Although “The Adoption Papers” has often been discussed and analysed mostly by focusing on the issues of identity and adoption, “Severe Gale 8”, the sequel to “The Adoption Papers”, Other Lovers and Off Colour have not been the focus of much academic study from the aspect of the voice given to the racial and the sexual other.

This research monograph studies Jackie Kay and Carol Ann Duffy as poets representing the voice of the “other” in the 1980s and the 1990s British society because there is a considerable lack of criticism on this particular aspect of their poetry. The works of these two poets are part of contemporary British poetry in which as Kennedy puts it “the heterogeneity of the ‘ex-centric’, the marginal and the peripheral is raided in order to revitalise and refurbish the homogeneity of the centre. Diversity is used to underwrite a new uniformity” (“Mapping Value”).

• Introduction
• Overview of the 1980s and the 1990s poetry scene in the United Kingdom given to serve as a background framework for the poetry of the two poets under study.
• Part I: The Voice of the “Other” in the Poetry of Carol Ann Duffy
  • After a brief introduction to the social and economic background of contemporary British society and its impact on the poetry of the 1980s and the 1990s, the voice of the “other” in selected poems of Carol Ann Duffy from her poetry collections Standing Female Nude (1985), Selling Manhattan (1987), The Other Country (1990) and Mean Time (1993) will be studied in Chapter I.
• Part II: The Voice of the “Other” in the Poetry of Jackie Kay
  • The poetry of Jackie Kay from The Adoption Papers (1991), Other Lovers (1993) and Off Colour (1999) are studied closely with respect to the racial and sexual “other” she represents concerning the voice of the other in society.
• Conclusion
  • The study of the relevantly selected poetry of Carol Ann Duffy and Jackie Kay shows that Duffy, through her use of the dramatic monologue, and Kay, by using her own experiences present the voice of the “other” in their poetry. Duffy gives voice to the outcasts in the society such as the criminal, the mentally ill, the rejected, the silenced, the marginalized, the unemployed and the immigrant, and Kay herself already an “other” as a black girl adopted and raised by a Scottish family deals with racial issues, racial and sexual otherness in contemporary Britain. Both Duffy and Kay have their poetry represent the contemporary Britain through the experience and voice of the “other”.

Soul Search

The Post
Cork, Ireland
2010-09-05

Nadine O’Regan

When poet and novelist Jackie Kay started the search for her birth parents, she didn’t realise how traumatic a journey it would be, though she doesn’t regret doing it.

Jackie Kay met her birth father for the first time in a hotel room in Abuja, Nigeria, in 2003. Then in her early 40s,Kay was expectant, excited and nervous. She had brought him a present, an expensive watch.

However, before they could talk, her father, a born-again Christian, said there was something he had to do. For more than an hour, he prayed, frantically whirling, wild-eyed, like a dervish around the room, asking the Lord to cleanse the sin before him.

In her new memoir, Red Dust Road, which paints a vivid portrait of her search for her birth parents, Kay, an atheist, describes how her tears began to flood down her face as she understood that the sin being referred to was herself. ‘‘I realise with a fresh horror that Jonathan is seeing me as the sin, me as impure, me the bastard, illegitimate.”…

…Assembled in a kind of jigsaw manner – with events nipping back and forth across the years – Red Dust Road combines a compelling search story with a vivid portrait of struggling to deal with issues of race and roots. Long-term fans of Kay’s work will spy occasional references to her break-up with her lover of 15 years, British poet laureate Carol Ann Duffy, and get a sense of her current life: living in a terraced house in Chorlton, Manchester, teaching part time at the University of Newcastle and bringing up a university-age son…

…Born in 1961 to a Scottish nurse and a Nigerian student, Kay was adopted at the age of five months, and grew up as the daughter of two colourful, outspoken, lifelong socialists: her adoptive father was a member of the Communist Party and her mother was the Scottish secretary of CND…

…Absorbing the fact of her adoption wasn’t the only issue Kay had to face during her childhood. She was also mixed race in 1970s Glasgow – ‘‘Being black in a white country makes you a stranger to yourself’’ – and gay at a time when nobody was allowed to be.

‘‘We live in a society where people have civil partnerships and people understand what the word ‘homophobia’ means and gay people have children openly,” she says. ‘‘But when I told my mum, that was really unusual, and she was really quite shocked.”

Kay began writing poetry at the age of 12, as a response to the racist names she was called and the beatings she received. ‘‘I found writing to be a sanctuary. I’d write a little poem as revenge.”…

Read the entire article here.

“What is In My Blood?”: Contemporary Black Scottishness and the Work of Jackie Kay [Book Chapter]

Literature and Racial Ambiguity
Rodopi B.V.
2002-09-15
328 pages
ISBN-10: 9042014180
ISBN-13: 978-9042014183
pp. 1-25(25)

edited by Teresa Hubal and Neil Brooks

Peter Clandfield, Assistant Professor of English Studies
Nipissing University, North Bay, Ontario, Canada

The work of the Scottish writer Jackie Kay (b. 1961) not only refutes simplistic definitions of race and racial attributes, but also challenges utopian idea(l)s about racial and cultural hybridity as a condition that, in itself, resolves problems arising from racial differences—that is, from dissimilarities, conflicts, and things in between. In her 1985 poem “So you think I’m a mule?,” Kay, who is of mixed black-white (African-British) biological parentage, voices what sounds like an unequivocal rejection of white attempts to theorise about people of obviously complex racial ancestry:

If you Dare mutter mulatto
hover around hybrid
hobble on half-caste
and intellectualize on the
“Mixed race problem”,
I have to tell you:
take your beady eyes offa my skin;
don’t concern yourself with
the  “dialectics of mixtures”;
don’t pull that strange blood crap
on me Great White Mother.
Say I’m no mating of a she-ass and a stallion
no half of this and half of that
to put it plainly purely
I am black (lines 29-43)

This 66-line poem is given in full as an epigraph to Heidi Safia Mirza’s Introduction to Black British Feminism: A Reader (Routledge, 1997), where it serves as a strong statement about the determination of black British women to set their own agendas. In the context of Kay’s own evolving career, though, the poem’s significance is much more ambiguous. While its speaker states emphatically that she is black and is “not mixed up” (line 50) about race, mixedrace voices in Kay’s more recent works are less certain. Without being “mixed up” in the sense of being confused or incoherent, these works delineate complex emergent forms of racial and cultural identity that undermine fixed concepts not only of Britishness, blackness, or black Britishness but also of hybridity itself…

Read the entire chapter here.

Jackie Kay – Red Dust Road Launch Night

Glasgow Women’s Library
81 Parnie Street, Glasgow, Scotland
Wednesday 2010-06-23, 19:00 BST

Red Dust Road Exclusive Launch

Jackie Kay is known and loved for her fiction – a novel, and short stories -, for her poetry and her plays. In this revelatory and redemptive book, with characteristic generosity and humour, she tells the most inspirational of stories: her own…

For more information, click here.

Borders Book Festival: Where Words Come Alive—Jackie Kay

Harmony Marquee
Melrose, Scotland
2010-06-20, 20:30 BST (Local Time)

Published only days before the festival, Red Dust Road is Jackie Kay’s autobiographical journey.  Adopted by warm-spirited Scottish communists, Jackie has never thought of anyone else as her ‘real’ parents, but meeting her birth father and mother was nevertheless revelatory. This is a wonderfully written, emotional book about biology and destiny, strangers and family, belonging and belief.

For more information, click here.

Red Dust Road: An Autobiographical Journey

Picador an Imprint of PanMacmillan
2010-06-04
304 pages
214mm x 135mm, 0.43 kg
ISBN: 9780330451055

Jackie Kay, Professor of Creative Writing
Newcastle University

‘What makes us who we are? My adoption is a story that has happened to me. I couldn’t make it up.’

From the moment when, as a little girl, she realizes that her skin is a different colour from that of her beloved mum and dad, to the tracing and finding of her birth parents, her Highland mother and Nigerian father, the journey that Jackie Kay undertakes in Red Dust Road is full of unexpected twists, turns and deep emotions.

In a book shining with warmth, humour and compassion, she discovers that inheritance is about much more than genes: that we are shaped by songs as much as by cells, and that our internal landscapes are as important as those through which we move.

Taking the reader from Glasgow to Lagos and beyond, Red Dust Road is revelatory, redemptive and courageous, unique in its voice and universal in its reach. It is a heart-stopping story of parents and siblings, friends and strangers, belonging and beliefs, biology and destiny, and love.

Jackie Kay’s Representation of ‘The Broons’: Scotland’s Happy Family

eSharp
Special Issue: Spinning Scotland: Exploring Literary and Cultural Perspectives (2009)
pages 109-143
ISSN: 1742-4542

Mª del Coral Calvo Maturana
Universidad de Granada

This paper focuses on the contemporary Scottish poet Jackie Kay and the comic strip ‘The Broons’ by studying Jackie Kay’s representation of this family in contrast to its characterisation in the comic strip. This study presents a brief introduction to Jackie Kay and ‘The Broons’ and pays attention to Kay’s referential portrayal of this Scottish family in five of her poems: ‘Maw Broon Visits a Therapist’ (2006a, p.46-47), ‘Paw Broon on the Starr Report’ (2006a, p.57), ‘The Broon’s Bairn’s Black’ (2006a, p.61), ‘There’s Trouble for Maw Broon’ (2005, p.13-14) and ‘Maw Broon goes for colonic irrigation’ (unpublished). Each of the poems will be approached stylistically by using the advantages offered by corpus linguistics methodology; in particular, the program Wordsmith Tools 3.0. (Scott 1999) will help to show the collocation of certain words through concordances…

Read the entire article here.

The Poet as Cultural Dentist: Ethnicity in the Poetry of Jackie Kay

Theory and Practice in English Studies 4 (2005)
Proceedings from the Eighth Conference of British, American and Canadian Studies.
Brno: Masarykova Univerzita
pages 63-67

Pavlína Hácová, Philosophical Faculty
Palacky University, Olomouc

The acclaimed British poet Jackie Kay (born 1961) belongs to the colourful mainstream of recent British poetry. The paper aims to survey the ethnic imagery and consciousness Kay explores in her poems, predominantly with the images of dentistry. Special attention will be paid to the images of cultural significance. A few sample poems will be discussed to demostrate the constant search for identity (inclusion vs. exclusion, assimilation vs. marginalization) and cultural heritage.

…Kay keeps clear-cut the distinction between white and black. In the poem “Pride”, the exploration of identity that is based on the imagery of teeth, leads to concern with nationality. Kay is proud of her mixed Scottish and Nigerian background. She links her African descent to her Scottish nationality as she compares Scottish clans to African tribes – both sharing the pride of their respective cultures:

His [the stranger’s] face had a look
I’ve seen on a MacLachlan, a MacDonnell, a MacLeod,
the most startling thing, pride. (Kay 1998: “Pride”, lines 51-53)

However, Kay does not see the identity of the characters as either black or white. She has stated in an interview: “I consider myself a Scottish writer, in the sense that I am, and I consider myself a black writer, in the sense that I am, and a woman writer, in the sense that I am” (Severin 2002)…

Read the entire paper here.

Jackie Kay (Review of Darling)

Aesthetica Magazine
Issue 19 (2007-10-01)
page 10

Rachel Hazelwood

Jackie Kay is one of the most prolific and insightful poets currently writing in the UK today. At a time when too many people frequently describe the form as being “in decline” and thought of as an “exclusive club”, Kay writes poems that are accessible, yet deeply involved and involving. Her poetry embraces the reader, and at the same time it challenges them to really think about what she is saying. Her work covers weighty themes such as gender, ethnicity, racism and cultural difference, and presents them in ways that leave you marvelling at her command of language, and at the same time feeling as though you have gained valuable insight into subjects fraught with social and emotional complexities. As far as Kay is concerned: “All you need is a way of reading poetry so while you’re listening, you are also reading; and that you listen to poetry like you might listen to a piece of music. You actually don’t need to understand it in the first instance; you’re listening to enjoy and experience language, not to worry about it.  Once you’re past worrying you can actually return again and again to the same poem, and that’s what I think is wonderful about poetry.”

Kay’s latest work, Darling, published in October 2007, brings together into a vibrant new book many favourite poems from her four Bloodaxe collections, The
Adoption Papers, Other Lovers, Off Colour and Life Mask, as well as featuring new work, some previously uncollected poems, and some lively poetry for younger readers…

Read the entire review here.

Don’t tell me who I am

The Guardian
2002-01-12

Libby Brooks, Deputy Comment Editor

Jackie Kay has become used to all kinds of assumptions being made about her identity—literary, national, sexual and familial. The more annoying, because the joy of being a writer is that you can create any persona you like. On the other hand, she does want to stand and be counted. She explains to Libby Brooks

Jackie Kay tells a tale of mistaken identity. “I went to sit down in this chair in a London pub and this woman says, ‘You cannae sit doon in that chair – that’s ma chair.’ I said, ‘Oh, you’re from Glasgow, aren’t you?’ and she said, ‘Aye, how did you know that?’ I said, ‘I’m from Glasgow myself.’ She said, ‘You’re not, are you, you foreign-looking bugger!'” Kay roars delightedly. “I still have Scottish people asking me where I’m from. They won’t actually hear my voice, because they’re too busy seeing my face.” Meanwhile, in Glasgow, her black female friends are stopped in the street and asked if they’re Jackie Kay…

…Born in Edinburgh to a Scottish mother and Nigerian father, Kay herself was adopted by a white couple and brought up in Glasgow. A lesbian – she lives in Manchester with poet Carol Ann Duffy, her own 13-year-old son, Matthew, and Duffy’s daughter, Ella, six – Kay has found her own identities too easily commodified for comfort. “Your characters are fiction, but when you’re a public writer people often try to make them you. Often, they have this real need, which seems to come out of our culture, to relate things back to this big thing called the personality. There’s something discomforting about that gaze being on you because, by writing, you’ve deliberately chosen to put yourself behind the scenes…

…Kay has always read and always written. As a young girl growing up in predominantly white Glasgow, books such as Anne Of Green Gables and the Famous Five series offered her other lives, while writing gave her the chance to create her own. When she was 12, she wrote the 80-page One Person, Two Names in a school jotter, illustrated by a pal, about a girl living in the States who was black but pretended to be white. “It interests me that I still write about the same things,” she notes dryly…

Read the entire article here.